My social media feeds are practically overflowing with references to the second season of the hit Netflix series House of Cards, many of them assessing the show’s realism (or at least fidelity to recent political events) and its mechanics for maintaining suspense (we know Kevin Spacey’s Frank Underwood will succeed; the pleasure is in seeing how he manages to do so). The show doesn’t just confirm our perception of Washington as hopelessly corrupt, it revels in that. The show has prompted readings that identify it as feminist, while Alyssa Rosenberg identifies a far more problematic depiction of gender politics.

But even more attention has been paid (and more digital ink spilled) focusing on what the success of House of Cards means for the future of television. One of the best assessments comes from Matthew Yglesias, who offers a pretty insightful analysis of the structural aspects of the entertainment industry that currently favor Netflix over its chief competition, HBO (arguments that are not unlike some of the points Max Dawson and I raised in our essay, “Streaming U: College Students and Connected Viewing“). Yglesias points out that Netflix benefits from several key advantages over HBO: first, it’s significantly cheaper than HBO, especially for cordcutters who are not paying for a cable television subscription, and as Dawson and I argue, a large proportion of college students fall into this category. If college students are habituated into subscribing to Netflix, those habits may carry over after graduation. In fact, Yglesias astutely diagnoses that users are often likely to share HBO Go passwords (although this also happens with Netflix). Finally, Yglesias, like pretty much everyone else points out that Netflix has also tapped into the pleasures of binge watching by releasing all episodes of a “season” simultaneously, a technique that rewards the kinds of intense viewing that many fans have embraced.

This emphasis on binge watching has provoked a number of essays attempting to define binge watching and addressing whether or not the practices of binging are harmful or not. Nolan Feeney of The Atlantic offers an elaborate taxonomy of binge watching, detailing everything from how many episodes have to be watched to call it “binging” to whether binging is a harmful activity. Others, like Slate’s Emma Roller, defend the practices of binge watching by suggesting that it encourages more attentive viewing (Slate’s Alex Soojung-Kim Pang also defends binging). But the implication throughout is that our on-demand culture allows us immediate, intense, inexpensive, and uninterrupted access to texts that inspire passionate discussion.

That said, there may be some complicating factors that dislodge Netflix’s “disruptive” distribution model. As Gizmodo’s Leslie Horn reports, broadband caps that limit the amount of data that consumers can use in a given month are becoming more widespread (and with the imminent merger of Comcast and Time Warner Cable, likely to become even more common). According to Harris’s calculations, a particularly avid binge watcher consuming movies in high-definition, as Netflix and Amazon deliver them, is likely to use her entire data allotment in the course of a single weekend (the data costs for avid gamers would be even worse). This potentially makes Netflix a more expensive alternative than a basic cable subscription with HBO added on. The future of streaming could follow a number of different directions, but it’s important to note that this mode of consumption may prove to be a temporary form that is upset by any number of technological, political, and economic forces. In the future, we may binge-watch the old-fashioned way: on DVD.